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Content includes:
Introducing this special issue, by Virginia Haviland, Washington
US Children’s Books in a Changing World, by Jerome Snyder, New York
Children’s Book Illustration in Britain, by John Ryder, London
New Children’s Books – or Parents’ Books? – in France, by Christine Chagnoux, Paris
New Trends in Children’s Books in Germany, by Dr. Ingeborg Ramseger, Munich
Tradition and Internationalism in the Swiss Children’s Book, by Dr. Jurg Schatzmann, Zurich
The Japanese Picture-Book in Past and Present, by Tadashi Matsui, Tokyo
Polish Illustrators and the Children’s Book, by Miecszylaw Piotrowski, Warsaw
Contemporary Children’s Book Illustration in Czechoslovakia, by Dr. Dusan Roll, Bratislava
The Future Evolution of the art of the Picture-Book, by Anna Katharina Ulrich, Basle
Aggression in the Children’s Book, by Dr. Franz Caspar, Zurich
Prizes and Awards for Illustrated Children’s Books

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Graphis 177, 1975. Cover design by Etienne Delessert.
Graphis 177, 1975. Cover design by Etienne Delessert
More graphic design artefacts
From the design archive:
From the design archive:
From the design archive:
From the design archive:
More graphic design history articles

Members Content

One of my standout collected pieces is Erberto Carboni’s Crociere 1937 “Italia” Brochure, created for the Societa di Navigazione’s 1937 cruise schedule.
Emiliano Grignani is the grandson of Franco Grignani, one of the most versatile and influential Italian designers. Well-known for his advertising, painting and the way he could visualise motion in such a unique way. I interviewed Emiliano to find out more about Franco and his influence on graphic design and the great resource, https://www.francogrignani.info.

Members Content

Victorian Graphic Design left a mark on both British and American design history. In Britain, the ornate embellishments served as a symbol of prosperity and cultural values. Meanwhile, America embraced the combination of various design elements to navigate the complexities of a rapidly changing society driven by industrialisation and consumerism.
Armin Hofmann's publicity for the Stadttheater Basel. The client, in this case, the Municipal Theater of Basel, refused to listen to narrow-minded critics, in spite of the fact that as a state-subsidized enterprise it is accountable to public opinion.